Screen capture from "The Hunger Games" directed by Gary Ross and based on best-selling novel by Suzanne Collins

by Sam Juliano

June weather in March. Pink and white blossoms in bloom. Air conditioners running in full force. Everything’s gone haywire, but many are all smiles with all the outdoor options and the likelihood of a good time ahead during spring break. The Major League Baseball season is just days away, and Easter Sunday is just two weeks ahead. The Tribeca Film Festival launches on April 17 and runs until the 29, and as usual Dennis Polifroni’s friends there will enable WitD staff to again take in a number of the event’s most desirable features. Negotiations are underway to sort things out, but as was the case the previous years, screenings will be conducted at the Chelsea Clearview Cinemas and other nearby facilities.

At Wonders in the Dark, it’s business as usual with regular contributions by the site’s staff offering up some stellar prose, including Peter Lenihan’s defining essay on John Ford’s silent western classic The Iron Horse, Jamie Uhler’s buffo treatment of the British rock group “T. Rex” and Bob Clark’s moving remembrence of Moebius. As always Allan led the way on Tuesday and Friday with two new ‘Fish Obscuro’ entries, and his popular Sunday survey of cinema history from the earliest years to the present. This week he’s asking voters to consider 1932, a banner year for the movies, and particularly for American cinema. Everyone is encouraged to cast their votes on the post thread, which appeared yesterday.

An unusually busy week with film openings instigated a spirited run at the cinemas that resulted in the negotiation of seven (7) films, including a special TCM one-night nationwide anniversary run of the beloved classic Casablanca, complete with interviews and introduction by film historian Robert Osbourne. Lucille accompanied me to all the screenings except the aforementioned Casablanca, which I saw with Dennis and my son Sammy at our Edgewater multiplex:

But the seven films above did not consitute the only viewings this past week, as two my kids and I were moving forward with tremendous enthusiasm on completeing the entire (glorious) first season of GAME OF THRONES, an engrossing and ravishing fantasy series created by HBO from the novels of George R.R. Martin (the series is known as A Song of Ice and Fire) that bares some comparison with Lord of the Rings in setting and political focus. But really it’s an original hybrid, that really kicked into gear with Episodes 5,6, and 7. As I write this, I need to see the final three episodes (8,9 and 10) and possibly could do so later tonight when my family returns from our weekly Sunday visit to my father’s home at the other end of town. This is one of the reason’s why I was only able to make minimal updates to the diary links. In any case I was enthralled by what I saw in the last episodes, especially a number of stupendous set pieces. The court room sequence with Peter Dinklage, some startling sexual encounters and some power grabs and betrayals kept us riveted, while still waiting for a vital plot clue to an earlier attempted murder. The three buffo episodes were titled “The Wolf and the Lion,” “A Golden Crown” and “You Win Or You Die.” I will certainly have more to say today on this thread if the series is broached, especially my findings on the final episodes, which I may well have seen by the time the thread sees the most action. Update–I watched one more episode (Number 8 “The Pointy End) and plan to watch the final two 9 & 10 later tonight.

21 JUMP STREET is abound with dick jokes, crude attempts at humor, and a plethora of embarassments, in a textbook example of what is truly wrong at the multiplexes these days. Looks like the critics bought it, perhaps because there is so little out there to embrace. The film eventually grows into mindless and juvenile tedium. My two older sons laughed but admitted to me the next day it was forgettable. SALMON FISHING IN THE YEMEN has a great title and another remarkably lyric piano and flute-dominated score from composer extraordinaire Dario Marianelli, but it struggles to keep it’s story interesting, taking way too long to establish an emotional connection with the audience. It’s achieves that in a stirring finale, but it took far too long to manage it. It’s tolerable, but far from Bill Forsythe’s quirky and engaging Local Hero, which it seemingly strives to emulate. THE RAID:REDEMPTION is remarkably orchestrated and choreographed, but what in the end is it in the service of? It’s a lesson on how to dispatch people creatively and with incredible physical agility. In the end it’s just another repellant, tedious and overwrought movie that is memorable for the number of bodies it piles up in all kinds of gruesome executions. Thanks, but no thanks. Still composer Joseph Trapanese’s eerily disonant score is quite effective, and the young star does inspire some guilty pleasure rooting interest. JEFF WHO LIVES AT HOME is a quirky, comedy that seems to hit most of the right buttons, and concludes marvelously. I didn’t care much for the previous two films by Jay and Mark Duplass (Cyprus and Baghead) but this time they find the right tone in a film about domestic and family issues, and how people make emotional connections. THE DEEP BLUE SEA is the latest from British master Terrence Davies is rife with gorgeous dreamy compositions in a story of romantic decadence that in the end hits a profound emotional chord that is more-plot-oriented than any of the director’s previous works. No surprise since it’s based on Terrence Rattigan’s celebrated play, but Davies brings intensity to the drama and an intricate emotional underpinning. THEHUNGER GAMES is a big winner, though the anti-multiplex people will look for all kinds of reasons to knock it down to size after the mostly excellent reviews and spectacular box-office. But square can be beautiful too, and the (long) film is briskly paced, engagingly plotted, impressively designed, and acted and boasting a futuristic story that while not quite as provocative as it could have been, still resonates intellectually and emotionally, and makes some apparently wise alterations on the novel it is adapted from. (one I have not yet read) And TCM’s special anniversary presentation of CASABLANCA on nationwide screens was a consummate job, both for the print and the big-screen presentation complete with interviews and fascinating anecdotes.

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I’ve been looking forward to The Raid and I can well understand your criticisms. There is a danger, if there’s not enough compelling story, of it becoming mere butchery.

This week I saw :
TINTIN (Spielberg) **1/2 Interesting but too frantic and not enough reason
to care (for the characters as well as us)
HEAVEN’S GATE (Theatrical Cut) ** Haven’t quite finished it but rather boring.

Why on earth would you watch the theatrical cut of “Heaven’s Gate”? Furthermore– how on earth would you watch it? I don’t think it’s available on DVD (although I think the director’s cut, that’s on DVD, did play in theaters– I assume by “theatrical cut” you mean shorter)?

Because I ordered what I thought was the longer cut (from a big UK site which listed it as 3 hours 40) and it turns out it was the shorter version instead. The problem probably came from the fact it was a ‘marketplace’ buy which didn’t specify anything itself but was placed under those details.

The DVD came from Holland originally, I think. Cheap so no real harm done.

If I’d enjoyed it I would have happily found the longer version and enjoyed comparing the two.

That’s a shame. I can’t help but wonder whether or not seeing the compromised version takes out some of its majesty, and sours the experience altogether. For good or ill, it’s a film that deserves to be seen in its full, unadulterated cut.

WordPress is indeed doing some strange things the past few weeks. I will try and straighten things out with your name on these comments in a bit. I am not the fan of HEAVEN’S GATE that Bob and Allan are, but I agree the film does require the longer cut.

Yes, I do believe that THE RAID eventually turned into a body count. As I say the choreography was impressive, but to what end I ask.

Thanks very much for the link, Sam. Sounds like I should go on to Game of Thrones after season one of Boardwalk Empire, which I like a lot but have been getting on rather slowly with because I keep being distracted by movies. :)

Over the past week I watched three titles from 1931, Chaplin’s masterpiece ‘City Lights’, Erik Charell’s ‘The Congress Dances’ and Mamoulian’s gangster romance ‘City Streets’ – I really liked all three and must say Lee Garmes’ cinematography in ‘City Streets’ is amazing. At the cinema, er, I saw ‘The Muppets’ – rather enjoyed all the spoofing of rock band reunions and talking to camera, though I’m surprised the song won an Oscar! Have a great week, Sam and everyone.

The same thing happened with me as of late. I am frankly surprised I have nearly completed GAME OF THRONES, and may actually do so later tonight after I tend to the diary thread here. Like you I also stalled with BOARDWALK EMPIRE but will return to it as soon as I can. When you are watching so many movies it’s most difficult. Lee Garmes of course did the railroad station sequence in GONE WITH THW IND and is one of the most prolific and celebrated American cameramen, winning critical praised for a number of film including the film noir NIGHTMARE ALLEY, where his atmospheric skills really hit the mark. Great that you saw CITY LIGHTS (one of my own favorite films) and THE CONGRESS DANCES, which is aonly maligned by a difficult print. THE MUPPETS was harmless and modestly enjoyable, but yeah the song prize was undeserved. That category has really become laughable in recent years, and as you know this past year there were only two nominees.

First off, I wanted to address this misconception that I HATE GAME OF THRONES.

Completely the opposite. I made it very clear to Sam the other day that I think the show is marvelous. The production and costuming is superb, the visual stylings are amazing for a television series, every performer has brough his/her A game and the writing is very good. I purchased the Blu-Ray box on Friday to rewatch the entire first season over the weekend and, while I have nothing but good words for the series, I find it disheartening.

Now, when I saw disheartening, I don’t mean this as a bash. On the contrary, the show is so very good that I am disheartened to think a production of this magnitude may find its fate like other great giant-production series like DEADWOOD and ROME. The cost to make a show like this is astronomical and because the show is dealing with a genre like fantasy, I fear that the ratings may plummet and the wind in it’s sails dooms it for a cancellation. This is part of the reason I rolled my eyes at BOARDWALK EMPIRE (although THRONES is miles ahead of it better than that) and AMC’s recent HELL ON WHEELS.

Also, I take umbrance on those that liken THRONES to the second coming of a TV Christ and singing the shows praises to call it one of the BEST SHOWS ON TV IN YEARS when many of those same people have not taken the time to investigate the likes of THE WALKING DEAD (only getting better and better with each season), THE KILLING (regardless to the fact that the Swedish original is better, it’s still a mesmerizing “who-done-it” with a visceral reality edge) and, probably, the very best show on the tube, the monumental BREAKING BAD (with it’s laser-like writing, Award winning performances, and cinema quality visual style).

I’ll say that I enjoy and admire GAME OF THRONES (and cannot wait to see what happens with the second instalment coming in a few weeks), but am worried about it’s long term future and it being compared with tried and trues like BREAKING BAD.

As for the movie scene…

I agree, wholeheartedly, with Sam’s sentiments on the big screen presentation of CASABLANCA. Seing it this way, really the only way, one rediscovers how tight the scripting of the film is and I marveled at its brilliant use of cynicism and sarcasm. Also, I was reminded of what a great performance the late, great Claude Rains delivers with his comic turn as the French Police chief with an eye for skirt. Seeing CASABLANCA on the big screen is a true experience and TCM did a buffo job of turning this one night only showing into an event as well as an experience. It was great to see so many very young people in the theatre that night (Sammy Jr. wasn’t the only one in attendance) enjoying it as much for the first time as so many of us who had seen it dozens of times before.

CASABLANCA is, like it or not, one of the very definitions of classic cinema.

Dennis–I have not seen BREAKING BAD, but definitely intend to, but GAME OF THRONES is still one of the best shows I’ve seen in a number of years (granted watching TV shows has never been my forte) and I look forward to (hopefully) watching the last two episodes later tonight.

Your round-up there of the CASABLANCA experience the other night is dead-on. That’s one film that never loses a step no matter how many times you see it. I do hope TCM decides to continue this series. Thanks as always my friend. Have a great week!

Looking forward to your thoughts on the final two episodes when you get to them. I’ve been seeing the previews for the second season lately (coming back next week) and I’m so excited for its return.

Dennis, I don’t think GAME OF THRONES will be going anywhere, even with its big budget. It’s done phenomenally well and is one of the more successful and hyped up shows on the network. I have a feeling we’ll be hearing about the renewal of the show for a third/fourth season (spreading the third book across two seasons) pretty early into the showing of this second season. If they adopt the first three books across four seasons, I’ll be super-satisfied even if that’s all we get.

It’s not the best show on TV, though, that title belongs to MAD MEN, which came back last night with a brilliant, frequently hilarious two-hour premiere. Great stuff. Surprised to hear your affection for THE WALKING DEAD, which I gave up on after a season and a half because it was just so lame, not even a shadow of the addictive comic from which it’s adapted.

However, I’ll take you to task on THE WALKING DEAD. The problem most have with the show is that they’re EXPECTING another rendition of the gory NIGHT OF THE LIVING DEAD films with ACTION ACTION ACTION, when the show only uses those devices to punctuate the more human passages. The show is about human connections, morality and social tolerance, NOT intestine eating, premature death and gruesome murder.

The second season ended last week and the two desolves at the end of the episode pointed the viewers toward some very exciting territory. The appearance of the wraith-like Michonne saving Andrea told us that the human race is slowly changing and “some” have learned to “live” in this post apocalyptic world. The final shot of where the group is heading, a maximum security prison, lends us to believe that the old world is slowly fading from memory and the more violent and expressive “new” world has arrived (think of the arena sequences in GLADIATOR, and you’ll know what I’m hinting towards).

I’ve been a big fan of the comic books since the release of issue 1 and, as a fan of the books, find the TV adaptation (with the alterations) faithful in both the spirit of the books and most of the plotting.

Agreed that MAD MEN returned last night with a vicious bang. I like the show alot. However, to compare the show in quality, originality or ambition to BREAKING BAD almost sounds crazy. BREAKING BAD has the bigger scope, the greater moral questions and the most cinmatic feel of any current TV project, save THRONES, on the air.

I cannnot wait, as I know Maurizio can’t as well, for BB’s fifth and final season to present itself this summer. Normally I wait for a season to avail itself on DVD or BLU RAY so I can watch them, movie style, all in one shot (been my practice for years), but BREAKING BAD is so good and so brilliantly constructed that I have to get my “weekly dose” every Sunday at 10pm.

I also agree that if the ratings for THRONES are good in the second, always most difficult, season, then the show should avail itself to see the complete adaptation of the novels. I’ve got my fingers crossed! I’d love to see the show go the distance unlike the terribly fated, but brilliant, DEADWOOD (one of my 25 favorite TV dramas ever-it would compete with THE WIRE for the top slot of all time-drama-wise).

Well, as a fan of the comics, I certainly didn’t come to the show expecting non-stop action – Kirkman’s series, as you say, has always been more about character and morality. I just think the comic does an immeasurably better job of developing its characters and its ideas – the characters on the show are cardboard cutouts spouting wince-inducing dialogue that might’ve played OK written out but is painfully awkward when spoken. To be fair, I gave up on the show halfway through the second season, so maybe it’s improved, but I didn’t see the things you’re praising in a season and a half worth of it, which should be more than enough time for a show to have a fair chance of showing its stuff. I have the rest of the S2 episodes recorded in my DVR, but I realized that it was becoming a chore to tune in every week so I just gave up. Maybe I’ll catch up just to see if it gets any better, but in the meantime I still anxiously await new issues of the comic every month, and I wish the show had even a fraction of the intensity and character that the comic does.

I know I really need to see BREAKING BAD, it’s one that’s been on my radar for a while but I haven’t gotten around to it yet.

Game Of Thrones is certainly the best series going on at HBO at the present moment. I’m happy Sam finally got around to watched it. I also think he would love Carnivale and should give Deadwood another chance in the future. The former show is right up his alley and the devotion time will only be 2 quick seasons.

As for the AMC discussion, I have yet to see Hell On Wheels but concur with Dennis that Mad Men is not in the same league with Breaking Bad or The Killing for that matter. I personally prefer The Walking Dead over it as well, though I would be less emphatic with that defense. Unfortunately I have never read the comic book that WD is based on, so I can’t add to that area of the discussion.

I agree, THRONES is the best thing HBO has on right now and is up there with with both DEAD WOOD and the short lived but brilliant CARNIVALE.

The thing that irks me though, is that so many are rushing to label THRONES the best TV show on TV when they haven’t even wandered into BREAKING BAD’s backyard. BB has been cited on more than 50 end of the year 10 best lists by the major TV reviewers for 4 consecutive seasons ( a feat even their own MAD MEN hasn’t been able to conquer) and has been the rage of the watercooler discussion set like no other TV show on Cable TV since THE SOPRANOS ( the show that started it all) and the outrageously hilarious CURB YOUR ENTHUSIASM(which may even rival SEINFELD for most painfully funny-last seasons episode about the Pakistani Take Out Chicken Restaurant left me gasping for air).

As for the differences between WAKING DEAD the show and WALKING DEAD the comics series, I don’t see too much of a difference aside from some logical changes to plots and characters that were necessary for a TV series. I find none of the dialogue cumbersome or preachy and see the characters growing in a perfectly natural way given the circumstances of their plight.

As for the best of the past 10 to 20 years on American TV….

My choices for the must see stuff…

1. THE WIRE (when the smoke clears and 20 years off the air and repeat viewings are gotten, this could be the winner of the bunch)

2. SEINFELD

3. BREAKING BAD

4. SIX FEET UNDER (this one really needs to be seen again by all as it’s themes and messages grow more profound the second and third time around-not to forget that it’s probably the most original in over-all scope. But, then again, look at who the head writer and creator of the show is and it’s really no wonder at all).

5. DEADWOOD

6. THE LARRY SANDERS SHOW (There are moments on this show that are so achingly funny that I found it hard to stand up after particular episodes played out).

7. GAME OF THRONES

8. THE SOPRANOS (say what you want about the last 2 seasons, but the first four saw nary a dull moment and it’s use of the Mafia motif perfectly balanced a social commentary on alot of the big “real” subjects that were front and center for the times-mainly a look at the disintegration of modern American family values)

9. CURB YOUR ENTHUSIASM (sorry, but there is just no funnier TV series on currently that is as raucously funny as this and Larry David should be considered a national treasure for his consistently off-the-wall creation-HIMSELF).

10. FRASIER (hard to beleive that any show could trump the beloved consistuency that was CHEERS back in the 80’s and 90’s, but Kelsey Grammers pompous and self combusting psychiatrist was a character that saw more growth both as a character and a situation comedy than just about any other network series in the past 20 years-I know that there are episodes on this series that are so funny and well written that you need oxygen with you when looking at them on repeat viewings)

and hovering over them all is THE SIMPSONS which, at going on 22 years on the air, probably paved the path for most of the shows on this list with its excellent writing, plotting, metaphorical social commentary and a cast of characters that will never be matched. The show lost a little thunder in seasons 12 through 17, but the fire has been fueled again (with the help of a slew of new comedy writers) and the series is still slamming them out of the park. Besides, has there ever been a more perfect main character on TV, since Ralph Kramden, than Homer J. Simpson?

I’d save special mention for:

THE WALKING DEAD
THE WEST WING
BUFFY THE VAMPIRE SLAYER
THE X-FILES
ROME
THE TUDORS

Thanks Ed! As I stated elsewhere here I do have plans to watch the final two episodes later this evening, and both my sons Sammy and Jeremy and I are very excited to see if some of the mysteries are unveiled. Allan wasn’t specific of course, but he did tell me that some major matters are held over till the second season as I would expect. Speaking of that season, I did indeed see the announcement, and it will be fun and unusual to follow the show on Sunday nights on HBO rather than waiting until next season for the blu-ray set, which of course I still anticipate acquiring. I do desparately need to investigate MAD MEN and even THE WALKING DEAD, though BREAKING BAD would also appear to be a must based on Dennis’ glowing praise. Have a great week my friend!

As a Mad Men die-hard from its inception, I must admit I am tired of its glacial pace and shallow denizens, but having invested in the first four seasons, I am committed to seeing out Season 5, after the 2-year hiatus.

The opening double-episode of the new series was same old same old. Shallow, vain WASPS who have learnt nothing over 6 years. Don has hit 40 and is as clueless as he was when he stole a dead man’s identity. There was some unusual humor, but I wouldn’t describe it as hilarious. The same old clichés. Hick clients who all look and sound the same, and over-sexed middle-aged white men screwing younger women – anyone for a ruck – wink wink? Why have a token black and a token gay? Save money and have a gay black guy at a boring party with some mildly arousing sleaze. Heck, who doesn’t like a surprise party? As to the treatment of race, it has an icky Seinfeld-feel. Almost as loathsome as Larry David’s foul-mouthed hanger-on in Curb. But the period detail remains awesome. Some decent characters are needed fast.

My best TV show of the current crop has to be Homeland – intelligent and gripping television, where things actually happen and deep questions are posed.

Sam,
Thanks again for the shout out. It’s disappointing to hear your thoughts on “Salmon Fishing in the Yemen” which opens here next week. Dorothy and I were both looking forward to seeing it. Still will go. I may have said this before but I think it’s great that your kids enjoy seeing all these “old” black and white films with you. It will certainly give them a much more comprehensive understanding and knowledge of film as an art form as the years go by.
Hope everyone has a great week!

Jeff Who Lives at Home (****) At 30 years old, Jeff’s still a slacker living in the basement of his mother’s house, trying to find his future. As played by Jason Siegel, Jeff is big fur ball of male reluctance to growing up. Through his thick fog of smoking dope, hanging out with his not much more advanced married older brother whose life is crumbling, and chasing after his destiny that involves someone named Kevin we come to like Jeff for the gentle sweet soul his is. Engaging performance from Siegel and an idiosyncratic script make for one of the better theater visits so far this year.

Touch of Evil (*****) Brilliant B-film noir from Orson Welles! The magnificent opening sequence is mesmerizing each and every time you watch. Welles, an extremely overweight individual gives himself no pity shooting many scenes from such a low-angle only to emphasize his extreme bulk even more. The only weak spot in the film is Charleston Heston as Vargas the Mexican detective. Hope to do a review of this classic in the near future.

Casablanca (*****) First time I got to see this classic the way it was meant to be, in a theater, was the other night when in celebration of the film’s 70th anniversary it was back in movie houses for one day! As expected it was a great treat to see Bogart, Bergman and the rest of the crew in the darkness of a real theater. The chemistry between Bogart and Bergman is only topped by the chemistry between Bogart and Claude Raines and the script is just brilliant.

This Gun for Hire (***1/2) Alan Ladd is a nasty hired killer out for revenge when he is paid off in marked bills and the police are quickly on his tail. Based on a novel by Grahame Greene, the movie comes across as one part foreign intrigue and two parts crime film. Ladd is good as the pretty boy killer with a soft spot for cats who inadvertently becomes involved with a group selling chemical secrets to the Japanese during wartime. The memorable Laird Cregar makes for an interesting neurotic weasel of a criminal. I have always find Robert Preston rather dull and he does nothing here to change my mind.

The Stepford Wives (***1/2) Ira Levin’ 1972 satirical novel is a woman’s lib nightmare. I do have a soft spot for the original, which is the one I watched (The remake was another kind of horror). But I always get the nagging feeling this could have been a better film. The filmmaking, like the robotic wives, is a little too genteel. It is all just a bit too laid back. I felt there needed to be more twisting of the knife to make the story better.

The Common Law (***) Pre-code film from 1931 with Constance Bennett as a former kept woman who models for and falls in love with artist Joel McCrea. McCrea’s rich family back in the States, mainly his older sister is against her “bohemian” brother making a fool of himself living with a “tramp.” Interesting for it pre-code aspects, nudity, kept women and some racy dialogue.

The Yakuza (***1/2) Robert Mitchum returns to Japan after twenty years to help a friend get back his daughter who is being held hostage over a disputed arms transaction. The film is nicely filled with cultural differences, interracial romance, century old traditions, family loyalty and honor thanks to an excellent script by Paul Schrader and Robert Towne. Mitchum is his usual cool self. Also a nice stoic performance from Ken Takakura who hides deep family wounds long hidden that eventually come to the surface. Great action flick.

Jeopardy (***1/2) Barbara Stanwyck is always at her best when she combines vulnerability and toughness as she does here, but the real treasure, in this tight little thriller, is Ralph Meeker’s nasty convict on the run who just about steals the show. Meeker has a great year in 1953. He also appeared in Anthony Mann’s “The Naked Spur.”

Confessions of Boston Blackie (**1/2) – Directed by Edward Dymtryk, Blackie gets involved in an art forgery racket and the murder of a Gallery owner. As usual, he has to clear his name with the police. The cast includes Harriet Hilliard, aka Harriet Nelson, of “Ozzie and Harriet” fame. Decent entry in this B-movie detective series.

You hit upon the one aspect of the recent surge of movie going (mostly at the Film Forum, but elsewhere too) that has given me the most joy and that of course is the kids connecting to so many classic films. I had Sammy appreciating CASABLANCA and even Zulawski’s THE DEVIL, and before that Wellmans in large umbers but many festivals before that including Chaplin, Keaton, Lang and A. Mann. It’s been quite an experience. Do not let my middling opinion on SALMON FISHING turn you off by any means. There are some nice outdoors sequences, the music is gorgeous and there’s a great ending to mitigate against the narrative issues. Great to see you saw JEFF WHO LIVES AT HOME, which you masterfully analyze there (I agree of course) and CASABLANCA at that special TCM screening. Both of us can’t say enough about this one, but you gave it a great go there! I have warmed up to TOUCH OF EVIL somewhat, but I wouldn’t quite go the distance. But I am in a tiny minority. I also like THIS GUN FOR HIRE more, but your framing is fair enough. I am dead-on with you on THE STEPFORD WIVES and THE COMMON LAW and maybe a half star less on THE YAKUZA. As far as CONFESSIONS and JEOPARDY I haven’t seen them yet, though with Dmytryk and Stanwyck I am ashamed. Ha!

Tremendous week there John! Spectacular round-up! Many thanks as always and have another eventful week!

Sam –
So many of the films you saw this week are right at the top of my list, especially THE DEEP BLUE SEA. I’m particularly fond of Terrence Davies’ work (and, in fact, am recording TIME AND THE CITY off the Sundance Channel even as I write this.)
But I’m especially cheered to see your very positive assessment of THE HUNGER GAMES! I finished the last book in the trilogy on a Friday afternoon flight from Houston to Chicago, and saw the film on Saturday afternoon. I was in a packed auditiorium with at least 85% of the audience composed of teenagers (no suprise) and from the time the film started till the final credits rolled, I think you could have heard a pin drop in that audiorium. The film is very smartly adapated for the sceen, and I found it heartbreaking and impeccably acted, especially by Jennifer Lawrence as Katniss. My only quiblle – which I can’t reveal without delivering
A BIG SPOILER SO IF YOU HAVEN’T SEEN IT, STOP HERE
– is that, in the book, Katniis and Peeta emerge from the Arena both clinging to life and in need of serious, immediate medical attention; Peeta eventually loses his leg. In the film, they seem to be only a little bruised and tired. While I applaud Gary Ross’ restraint in depicitng the story’s violence, I think he didn’t fully represent what the torment was for the story’s heroes. But that’s a relatively minor complaint.
I’m hoping to get my own review up in a couple of days.
Meanwhile, my only other outing this week was to a local production of GYPSY, which was delightful, featuring a very Merman-esque actress, Klea Blackhurst, in the role of Mama Rose. After so many re-interpretations of the role and the show in recent years (the Sam Mendes produciton with Bernadette Peters, the produciton with Patti LuPone), it was refreshing to see the show returned to traditional form.

Great to hear you are a Davies fan! He’s absolutely one of my favorite contemporary directors, and count me as an admirer of elegiac TIME AND THE CITY. I do not feel as a few do that THE DEEP BLUE SEA was somewhat less noteworthy than the others, though my absolute favorite of his is THE LONG DAY CLOSES. But I could imagine you love THE HOUSE OF MIRTH too. Anyway THE DEEP BLUE SEA does weave a dreamy spell on you, and I can’t wait to hear what you think.

And I am smiling ear to ear reading your glorious assessment of THE HUNGER GAMES! Well, I haven’t read any of the books (my daughter Melanie just started reading yesterday, so I’ll have to wait for that copy. Ha!) but still was emotionally stirred as you were. Broadway Bob coached me before and after as to what changes were made in the film, and of course the ending is a major instance. But I must say you make an excellent point here with your minor reservation. No doubt Ross’ hands were tied with that, but it would have added a welcome harder edge. I greatly look forward to your upcoming review, as it will enable me to frame my feelings better. I have also toyed with the idea of writing one. BTW, the theatre I saw it in was packed too with teenagers, and the pin drop scenario is applicable as well.

Hi Sam, and thanks for the mention. Things continue to be punishingly busy on the work front, with little time for getting out to the movies. However, we’ve been trying to keep up with DVDs, watching some good escapist entertainment with Push and Virtuosity, and looking forward to seeing John Carter (Rod’s review of it is up on the site). I went birding at Rosehill Cemetery with a mind to finding and photographing the headstone of silent film star Milton Sills for a Facebook friend, and mission accomplished with no mention of anything on the stone but his name and birth/death years. We went to the annual Maple Syrup Festival at a local nature center and had some great pancakes with freshly brewed syrup, caught up with some old friends, and then had to dash to attend a concert of the Chicago Chamber Choir. They did my favorite choral piece, “Lux Aeterna” by Morten Lauridsen, accompanied by the Evanston Symphony Orchestra sitting literally inches from the violin section. It was a truly glorious concert.

I know you tend to have some stretches during the year where you are very busy at work, so it’s remarkable that you do all that you do and still keep bringing out top-drawer, comprehensive reviews. As does Rod of course, and I did read his JOHN CARTER review at school today and will be adding my two cents tonight. Spectacular piece. I haven’t seen PUSH, but know some others who like it, and agree that 1995’s VIRTUOSITY is good escapist fun. I know Sills starred in the silent version of THE SEA HAWK in 1924 and was a Chicago guy through and through. Surprised the name was off the stone. Is it possible it eroded because of the weather? And then the annual Maple Syrup Festival, at a local nature center. Wonderful. My kids are all pancake lovers and would appreciate that! But heck so would I. A friend of mine who now lives in Florida (older) was a fanatic for the Linbergh baby kidnapping case and he had me going with him to local cemeteries taking pictures of the grave stones of many involved in the case who was interred in New York City area resting places. It was a great experiences for so many reasons. The Chicago Chamber Choir is pure bliss, I can well imagine. I just scanned through the review here by Dorothy Andries in the CHICAGO SUN-TIMES:

Sam – Milton Sills 1882-1930 is what is on the stone, but no mention of who he was in life. I don’t see a let-up at work, but I seem to have found a well of energy that keeps me going. Tonight, we went to a community meeting to Save the Portage Theatre, which a church wants to buy. Looks good for our side, thank god! They filmed the “Manhattan Melodrama” scene of Michael Mann’s Public Enemies there, so if you saw that, you may remember how lovely it is inside.

Ah ha! I do remember that sequence, and the it is indeed beautiful! I have nopthing against churches wanting to purchase buildings but in this instance I am completely with you for obvious reasons! You are remarkable in standing up for causes!!! Looks like this one will have a happy ending too! Nice.

You and I have discussed The Hunger Games. I liked it, but not quite as much as you did. Carol on the other fan can’t wait to see it again. I agree with you that the change from the book at the end was beneficial to make the proper character connections. The element of cynicism came through effectively, and the actors were outstanding.

Seems like we are not too far apart, but true you have a few more issues. I figured Carol would go for it. Yes, the concensus seems to favor the film’s conclusion over the novel’s. I certainly would be able to let you look at the blu-ray set of GAME OF THRONES. Thanks as always my friend. Have a great week!

As huge fans of THE HUNGER GAMES book series, my son and daughter-in-law insisted that I read them too. When they told me the premise I balked, but they kept badgering me until I finally caved. And I’m oh-so-glad that I did! Now they’re after me to see the movie. With your additional endorsement, I think Len and I may see it this week.

Thank you, too, for providing information about GAME OF THRONES. Eoghan and Kayley have never mentioned it and it sounds like it’s right up their alley. Maybe, just maybe, I’ll be able to pull off looking “in the know” and point them to something they’re unaware of.

No doubt the books have becaome a kind of phenomenon and the opening of the film has upped the demand for copies. I am just about certain you will appreciate the adaptation and the skillful work done by the writers and the cast. Gary Ross wisely toned down the special effects and you definitely were left with an emotional human story. I really did not expect to like it as much as I did, but go figure. I hope tou are successful in getting Eoghan and Kayley on the GAME OF THRONES bandwagon. They will surely thank you profusely for it!

Thanks as always for the terrific dialogue here my very good friend, and have a special week!

Yes our warm weather has finally left us and we’ve got a “seasonal” 52 degrees today. Haha! Oh well. Thanks for the tremendous mention. I have been having fun with Allan’s yearly vote and look forward to 1933. I think it’s a far tougher year than 1932, but that’s just me. ;)

Well looks like you enjoyed Hunger Games and The Deep Blue Sea, 2 films I’m really wanting to check out. I think the wife and I will go see Hunger Games on our next date night. I have been wanting to see the Davies film ever since I was in the UK and it started playing there back when I was there last year and I didn’t get a chance to check it out. Can’t wait!!!! Hoping that Weisz is good, but she usually doesn’t dissapoint.

My film of the week, was Cassavetes’s A Woman Under the Influence. I’m not normally a Cassavetes fan, but this film just puts you through the wringer. It was exhausting, long, frustrating, but ultimately a unique and rewarding experience. Rowlands really wears you out when you’re watching it, but you just can’t take your eyes off her. She’s a train wreck!!! I’m not sure I ever want to see it again, but it is a powerful/difficult film. Hope to do a write-up of it if I can figure out what to say.

This week I’ve got Faces, Shadows, and Criss Cross on the schedule. Have a super week my friend!!!

JON-YES!!!!!! I am in total agreement on A WOMAN UNDER THE INFLUENCE but will go one further and say it’s Cassavettes BEST FILM. The cinema verite attitude works perfectly and there is never a staged moment in the movie.

Rowlands gives the performance of her career as the house-wife steeming into insanity and she leaves your stomach in knots by the time the film sees it’s credits scroll (hard to believe she was bested at the Oscars for the BEST ACTRESS prize that year). Actually, her performance is PAINFUL, and I mean that in the best possible way.

In ‘Faces’ Gena Rowlands and her gal pals go nightclubbing, bring home a gigolo and then proceed to humiliate themselves in front of him. This very long, excruciating scene is one of the greatest in modern American films, and Jon, if you’ve never seen it, buckle up.

I adore A Woman Under the Influence. It’s at-first-glance grittiness and documentary feel are in actuality artistic qualities of the highest order. I don’t know whether it’s Cassavetes best — I haven’t seen them all — but I love it and Opening Night. Gloria has its moments, and I see his final film — Love Streams — as several pieces of heaven.

The weather paterns here seem to be following yours, as we also has temperatures in the 50’s today (with a cold wind) following some 70 degree days. The yearly surveys have been fun for sure, and I’m sure 1933 will have nearly everyone in agreement as to the overall quality of that amazing 12 month period. I am not sure how THE HUNGER GAMES will go with you, though I am confident you will be ravishing by THE DEEP BLUE SEA as a Davies admirer.

A WOMAN UNDER THE INFLUENCE is powerful stuff, and Rowlands is electrifing. I like your ‘train wreck’ description there! I look forward to your reaction to those other masterful Cassevettes works. Have a great week my friend, and many thanks as always!

Ah, love getting a shot out in the MMD as an ‘anti-multiplex person’ that will ‘look for any reason to knock down a picture’. Sweet, the Diary is like Superman’s Bizzaro world were not liking the multiplex is considered a bad thing.

Be rest assured that my comment there was a generalization and not aimed at you, one of my very good friends and a long time mainstay at this site. No the Diary is not meant to be a ‘Superman Bizarro’ world, just a place where opinions aren’t culled from preconceptions or umbrella generalizations. My preference for arthouse cinema is conveyed week after week, and I probably ignore like 80% of what the multiplex offers. But there are some notable exceptions as you would expect there would be (heck Allan himself gives the final Harry Potter movie **** 1/2 stars) and defining line between what is art house and what is multiplex is never really certain. To take a position that every single film that opens in a multiplex or is categorized as such is automatically invalid as art and/or taste entertainment to me reeks of snobbery and elitism. I know we’ve been down that road before at the site, but I just wanted to reiterate my position as one that only attempts to leave all the doors open. Sure, 80 to 90% of the films that annually open up in multiplexes are forgettable, but it’s that 15% or so that are not that I am interested in. It’s the place where the Scorseses, Woody Allen, the Coen brothers, the Spielbergs, the Aronofskys, and the Pixars have unveiled their work, and annually it’s a place where we get a small but noteworthy share of surprises. Spending the vast majority of my time in art houses has not left me completely indifferent to what the ‘popular vein’ has to offer. I refuse to shut out any and all possibilities. I know you have stated your position intellectually and philosophically, and my comment here was simply a case of stating my own position without fingering any single person including yourself.

We’ll I’m not using an umbrella generalization in my condemnation of the multiplex. I’ll state my feelings again, as clear as I can, knowing full well they’ll be completely disregarded, or approached as if they’ve never been articulated before but here goes:

My objections to the multiplex, and larger to the monopoly based way in which our entertainment is conceived, marketed, and sold to us is an argument based on ideology. Therefore, even if several or even many masterpieces show up there annually it doesn’t change how I feel about the way in which these companies operate and control the business akin to a strangle hold from a mafia overlord.

It’s the same as why I prefer the small city bookstore or used bookstore to purchases at Barnes and Noble or a Borders (and I limit all my book purchasing on Amazon to used and/or individual sellers). Yes, I can find the same ‘masterpieces’ under both roofs but what each does to the publishing industry, the treatment and representation of the artist, treatment of their employees, (etc) are not the same. It’s why I avoid one, and not the other (in my record buying it’s also why I avoid the Best Buys of the world). In the cinema arena, it’s even worse as the marketing of films has become a better way to insure that films succeed or fail (not to mention the ability to blanket roll out a film to thousands of screens) and no one is more responsible for this change in dynamic then the multiplex. I suppose I could keep outlining my positions further, but, if I’ve learned anything from my time at Wonders, it’s that no one gives a fuck all about my Marxist leanings.

This may be of little use to you, and many of the followers here but at some point I don’t agree with what I see and have to at least decide that the buck should stop with me (I’m the only person I can control). In the language of the multiplex, where cash is king, it’s the only way I can have a voice they’re interested in hearing.

Of course no one cares about marxist leanings, specially when they are remitted to “I’ll buy at small stores and not big stores”.
Just as much as we won’t care about someone else’s fascist or nazi leanings, or overtly religious, or whatever. It’s how we are, we don’t care because we have our own.

OK Jamie, fair enough. I have never taken a position that I don’t “care” about your Marxist leanings, just that I don’t personally share them. A long time friend who sporadically comes to this site (Andrei Scala) is an enthusiastic Marxist and atheist, and we’ve politely (and even not so politely) sparred on our differing position. You are making a conscious decision to corrulate an ideology with a conception of what art is. Therein lies our difference. I like the idea of buying from the corner bookstore, as opposed to the Barnes & Noble, and I admire your music buying habits, but it still doesn’t diminish the potential of art appearing under a commercial roof. Art and entertainment cross paths many times, and I refuse to embrace any idea that sets ground rules in advance for how art should be appreciated and perceived.

As to your belief that I don’t care, this is untrue. You are one of the brightest people I have ever encountered online, a true friend with a spirit of generosity and enduring friendship, just that you also have a shade of cynicism that it not part of my own make-up.

But that’s what always makes our discussions so meaningful and not relegated to a singular perspective, politically correct or not. I will always listen my friend, and often I’ll agree.

“Art and entertainment cross paths many times, and I refuse to embrace any idea that sets ground rules in advance for how art should be appreciated and perceived.”

Having the beliefs I do doesn’t mean this can’t happen, I’m mostly concerned with what is outside the frame in marketing, business flow, commerce, etc. Granted, what is contained in these films generally does reinforce these ideologies, but that’s a large can of worms that need to be discussed as individual films.

We should never take politics à la carte, it leaves us with no ground to stand on when we eventually do see something we dislike. Which, with this organization of affairs, is bound to always happen.

Hello Sam and everyone!
Thanks once again for linking to my site! It’s always a pleasure to be included in such a magnificent lineup. You had quite the week at the theaters, many new releases. Of those I really want to see Hunger Games, most of all, and as you know I had the pleasure earlier last year to see “Casablanca” remastered on a big screen outisde on a park, it was quite the experience, and it made me realize it’s a good movie, not a great one, but an iconic one, rating it ****.
Well, my week was calm, filled with classes and such, and good times with the girlfriend. I was supposed to go out to the theaters, but I didn’t have money to go, so I was left at home. The short film I did last week was received greatly by the teacher and given a great grade.
My week, movie wise:
– ¡Tía, no te saltes el eje! (2006, Kike Narcea) *** A spanish short film with annoying characters and over the top performances, but it has a pedagogic structure as it tries to teach about raccorts and axis on film. Entertaining at spots, but not much else.
– House of 1000 Corpses (2003, Rob Zombie) ***1/2 A gruesome, dirty and totally disgusting movie that gets a passing grade because it is gruesome, dirty and disgusting. It does make you feel disgusted and alone, a nihilistic film, a one with a great visual disposition, witn a clear statement by its director, a biting visual style, my God, this film also has an incredible amount of visually styriking characters, good stuff.
– The Informant! (2009, Steven Soderbergh) ****1/2 I’ve seen this film three times now, and every time it gets better with its narration, its cinematography, its incredible score, its fantastic acting, the twists and turns and how we end up understanding this main character more than we think initially. Finally, this film finally got a 1/2 star more than earlier, because it deserves, it is really a great film.
– The Viral Factor (2012, Dante Lam) ***1/2 I’ll have to say more about this Hong Kong action film soon.
– Liu Rushi (2012, Wu Qi) *** The review, thanks to you Sam, is topping your diary entry.
– Day for Night (1973, François Truffaut) ****1/2 This movie is so much fun, a comedy and a romance about a shoot. It’s a great movie for those who study filmmaking, as the stress and the things that happen are usual, and when you see them reflected on the screen, it’s even funnier. The character of Truffaut is enlightening, one to behold and admire, one of the best supporting acting roles in history of cinema.
– The Road We’ve Traveled (2012, David Guggenheim) ***1/2 A short film, propaganda, of course, that highlights the shining moments of your president, Obama, while at the same time highlighting the spirit of your nation. While I don’t agree with most of the points made here, it’s still admirable the economic and health issues he managed to make during his mandate.
– THX 1138 (1971, George Lucas) **** The first feature film by Lucas, and an influential, as well as a wierd one. It had a magnificent visual style, and in the first half hour I was completely loving it, but when it turns into a chase and a escape, I think it was… boring. I mean, I know Bob loves the film, and I can see why, but when it became action packed, or thrill packed, it kinda desestructured what it was building in a visual style. Still, a good movie.
Have a good week Sam!

It’s too bad you had to see THX in 1.77. The fact that it turns more conventional, seemingly, in its last third with the escape attempt doesn’t phase me much, because the visual dynamism makes it all breathtaking. It also introduces us to Don Pedro Colley’s great character, and gives Donald Pleasance some of his best moments on screen. But really, I love the whole look of the escape, how freeing and energetic it feels, as well as the sly bits of wit with how it plays on convention. It’s certainly not as explosively experimental as the first two thirds, but by that time it’s earned the right to give in to the thrill of the chase. And nothing beats the impact of that final shot.

I am leaving this message from one of the town’s schools, as my PC at home cannot get on any site. Lucille is trying to do something there, but no matter what icon you click on, it goes to “download.” Very strange. So alas, with the lousy expectation of a virus, I will be bringing the PC Tower to our local “Safenet” tomorrow. The just finished watching GAME OF THRONES about an hour ago with two of my boys, and needless to say it was a spectacular finale. Actually Episode 9 may well have been the greatest of teh series, but 10 was also filled with some revelations. A few events did jolt me, and I can’t wait to watch Season 2, when it commences on HBO next Sunday.
As you know my opinion of CASABLANCA is that it’s one of the greatest films ever made, and seeing it this way (much like last year with you) with this kind of immaculate print enhance teh experiences. Great you spent some time with Carol, and congratulations on the terrific grade you earned for teh short film that posted here last week! You deserved it!
Your review of LIU RUSHI was outstanding of course, as are your capsules on this thread. I am no fan of either THE INFORMANT or HOUSE OF 1,000 CORPSES, but I well understand both have their big supporters. I do like Truffaut’s DAY FOR NIGHT and Lucas’ THX 1138, so your analysis here is very fine.
As far as THE ROAD WE’VE TRAVELED and THE VIRAL FACTOR, I haven’t seen either, sorry to say.

You’ve had a great week yourself Jaimie, and hope you have a great upcoming weekend. Thanks as always my friend!

Sam, I might have gone to Hunger Games this weekend but was under the weather. Am curious especially given comparisons with Fukasaku’s Battle Royale, and I find comments on Gary Ross’s shaky-cam action scenes ironic in that context. Should be going to see it next week. At home, saw A Nous la Liberte as promised: an amusing slapstick-modernist Les Miserables but also a sort of evolutionary dead-end for cinema. Also took in This Gun For Hire — strange that it made Ladd a star since he never did anything like it again. It’s like Wilmer Cook’s fantasy life on screen and bracingly violent for the period. Also Gary Sherman’s Raw Meat (aka Death Line), maybe overrated as a sympathetic-monster movie but enjoyable for Donald Pleasance’s unusual hard-boiled wiseass police inspector. And Val Guest’s The Quatermass Xperiment (aka The Creeping Unknown), a nice blend of mundane realism and the fantastic — in retrospect it has a kind of faux-documentary feel to it. Enjoy your week.

The comparisons to BATTLE ROYALE have certainly been deafening, and I can agree with them to a point. Ross’ shaky cam may have been somewhat of a distraction, but not a serious problem. Great framing there of A NOUS A LIBERTE. Yep, Ladd never again managed anything like THIS GUN FOR HIRE. I haven’t seen RAW MEAT but have always liked THE QUATERMASS EXPERIMENT!, one of the best Hammers.

Another week of spotty movie-viewing, Sammy.
Far and away the best film I saw was Godard’s ‘Le Petit Soldat’, his follow-up to ‘Breathless’ and his (sort-of) answer to the organized Left’s attack on ‘Cahiers’ and the Nouvelle Vague filmmakers for being too apolitical, too Hollywood hallowed (‘Soldat’s ambivalence about France, Algeria and the subject of torture only infuriated the leftists even more, but politically M. Godard is no Manichean, which is what makes this film so complex, fascinating and, yes, infuriating). And ‘Soldat’ also has linkages to ‘La Chinoise’ — radical youth, political assassination, the Karina and Wiazemsky characters are both named Veronique, etc. I’m still digesting this one, but already feel confident calling it one of Godard’s best.
‘Make Way for Tomorrow’ — Notable chiefly for inspiring Kogo Noda to write the script for Ozu’s ‘Tokyo Story’. I’ll rewatch McCarey’s film again because critic Robin Wood insists I’m missing something about “gender identification” (gulp?!?).
‘The Iron Lady’ — Washing out the teacups with Maggie and Meryl. Slow, stately, respectful, embalmed. Instead of performing a full-frontal hatchet job on Thatcher, ‘The Iron Lady’ (I forget the name of the plowhorse who directed this) rakes her with a velvet claw presenting Britain’s first woman prime minister (1979-1990) as a doddering, hallucinating old warhorse looking back on her career, encased in dowdy clothes and capped with a bouffant helmet. Because the script is just a sprint through the historical archives, the highlights and the lowlights, the union-busting, the IRA, the Falklands, the fall of the Berlin Wall, not even Streep can humanize Lady Thatcher (maybe no actress could). This iron lady has iron-poor blood.
Sam, knowing how I loathe cat-killings on film, you send me a DVD of ‘Detachment’!!!! (just kidding, I’ll take another crack at it, Schleicher rates it a ‘B’) And I’m ready to roll the Wellman festival — you’re the best, my friend.

Thanks as ever for the exceptional report on some of the week’s movie watching! Godard is again featured, but this time you frame your viewing quite favorably, as opposed to last week. Agree with you on ‘Le Petit Soldat,’ the political contect and the comparison with ‘La Chinoise’.

I know of the parallel of McCarey’s film with TOKYO STORY, but still feel this earlier film makes it marks years before Ozu’s film released. it’s utterly heartbreaking.

That’s a classy putdown of THE IRON LADY, and be rest assured I’ll not be contesting it, only to say that Streey was superlative, even if the film wasn’t. Daldry directed THE HOURS, so that should ring a bell. The problem with that film is that they insisted on keeping Thatcher in Alzheimer’s mode.

Ha what you say about cats there! And yes, David Schleicher gave DETACHMENT a decent grade. I saw it at last year’s Tribeca and my own grade was roughly the same.

Thank you very much for the shout out – I put a lot of research and heart into my last post and I appreciate the attention….

I read the whole Hunger Games series during our power outage and the books were amazing, but then I became appalled that with so much hype these very grown up stories were being read by 8 year olds too, with no discussion groups and follow up – hmmm A society which has children killing each other and the crowds cheering…hmmm maybe we have come to this? Bullying and intimidation are fairly rampant – and I just wrote about the NUMBING side effects…..

I have seen Casablanca so many times – it is a favorite.

I am sure my daughters will enjoy the Thrones series along the way – they truly enjoy those types of good work – though my one daughter thinks that HBO over sexes and over violence s their series to the point of distraction, creating a norm that is not very healthy, rather like all the adulteration to processed food – we don’t notice any more but we grow addicted to it and need more and more

Thanks much! I have been remiss in getting over to your place, but I will do so tomorrow to fully examine your post. Yes, I agree that 8 years old is too young for THE HUNGER GAMES for a bevy of reasons. Glad you yourself were able to read them, as it will be a big advantage in checking out the film. Your daughter is not wrong that HBO does “oversex” some of their series, most in fact, and we can all figure out the reason for that! But they’ve still been able to bring out the artistry despite this. Ditto too with the violence. We’ve seen all this too in fine series like THE SOPRANOS, DEADWOOD and ROME among others. I am not at all surprised that CASABLANCA is one of your favorites. Thanks as always my friend. Have a great week!

Sounds like you had a great week, Sam! As always, actually. I rather envy that.

I saw almost nothing over the past week, but to go back a over three weeks, I did manage to get to theaters to see The Turin Horse and Damsels in Distress. The Turin Horse was my first Tarr, and while I can’t say I loved it exactly, it was pretty mesmerizing and is probably some kind of masterpiece. Whit Stillman’s Damsels in Distress is not perhaps his best work, and the ending feels a little too loose and out-of-nowhere, but it is possibly his funniest film, filled with his usual intellectual witticisms, as well as a fair number of jokes about dumb jocks and frat boys. Definitely worth seeking out.

I also watched William Wellman’s Yellow Sky the other night, and it was pretty darn great. Did not expect such a harsh, brutal western from its era, but it really wasn’t far from Leone territory in its characters’ meanness and villainy.

Also, I finally finished my Best of the Decade countdown over at my blog. Took me long enough. Maybe now I can get around to a Best of 2011, haha.

Thanks very much. I know you have been busy with school, and you do as best as you can on the movie front, which in the end is damned great! As THE TURIN HORSE is your very first Tarr I can well understand the somewhat disorienting nature of the presentation, but as you subsequently concede it is “some kind of masterpiece.” For me it’s the only five-star film I’ve seen so far in 2012. I’m sure it will grow on re-viewing. Great that you got to see DAMSELS, which is opening here on April 6th. Yes, Stillman is an important contemporary voice. METROPOLITAN is a film I rate highly. Couldn’t agree with you more on that assessment of YELLOW SKY, a terrific western that ranks among Wellman’s very best works. I will soon be checking out the completion of your project at PETRIFIED FOUNTAIN OF THOUGHT soon my friend. Have a great week and many thanks as always my friend!

I would love to chime in on “The Hunger Games” but I haven’t ventured out for it as yet. Susan read Suzanne Collins’ novel, and can’t wait to see it. Glad to hear the whole family went along for the ride. And again, an awesome week that defies description. Everyone I’ve spoken to has praised “Game of Thrones”.

Susan will fall for it big-time the way I figure it! With you I think it could go either way. I look forward to a response from both of you. Yes GoT is all the rage these days! Thanks as always my very good friend, and have a terrific week!

Thanks for the link, Sam.
It seems you had a very busy week! THE HUNGER GAMES is really raking money both in multiplex and book stores. Well, my personal finance is quite tight, after making such a huge investment, so spending on books is first item to be suspended. Kindle version of HUNGER GAMES is crossed out from want list, and local library and Gutenberg project are my main source of literary satisfaction. (There’s Japanese version of GP, collecting many PD books as well) Since I commute on train now, there is ample time to read. Working on Ambrose Bierce and other 19th century writers, in addition to Kido Okamoto’s detective novels set in 19th century Japan.
I started “Films of 1949″ series at my site. The series will cover various topics, details in those films made in 1949, significance of which may be missed by us or might have had different implication at the time.
Anyway, pollens are swarming in the air, and my eyes hurts!
MI

Hope all is well with you, despite the coming of the allergy season. Ugh. I could well understand the resulting pitch from a big investment, and you are right to cut those specific corners, with the library option at hand. You’ll get to HUNGER GAMES easily enough I’m sure. I will be seeing the 3 hour and 10 minute CHILDREN OF PARADISE (Marcel Carne) this evening with Lucille at the Film Forum, so I am scurrying to get through some of the comments at the site here under this thread, with little time available to me tonight for obvious reasons. I greatly look forward to heading over to VERMILLION to take in your exciting new series! That’s quite an interesting year, with teh post-war element at play. It was the peak time of the neo-realism in Italy. Am not familiar with the Japanese detective writer, but know Bierce wrote “The Incident at Owl Creek Bridge.” Have a great week my friend. I’ll see you at your place very soon. Many thanks as always!

Thanks again for the mention Sam. It appears you are now caught up with most new releases :) I went to see The Lorax with my daughter on friday afternoon and the multiplex was packed with people wanting to see The Hunger Games. That was a sign of things to come as things were even more crazy busy on the weekend and shows were sold out well in advance.

A lot of friends have been raving about Game of Thrones and as usual, I am a bit behind in seeing it. But I will get around to it sooner than later. I also saw In Darkness over the weekend and I share your assessment of it.

I am indeed pretty much caught up. I do want to see the sushi documentary, JIRO, and another opening this week called BULLY. Hope you liked LOMAX and anticipate a response from you soon on THE HUNGER GAMES. I realize the first weekend was tough to secure tickets. Hope to share notes with you soon on GAME OF THRONES. Have a great week my friend! Yes, IN DARKNESS was solid, though falling short of greatness.

Wow, you got to revisit Casablanca on big screen! I can fully appreciate what a marvelous experience that would have been though I wasn’t there to bask in its glory too. Great to know that you’re enjoying some pleasant weather at your end, and that the indefatigable cinephile in you is again going to shift to fifth gear once Tribeca Film Festival kicks off.

As I mentioned last week, I went to my latest alma mater (my stay where got complete last month) in order to attend the convocations. I’d missed the convocation for my graduation as I’d already joined my job (where I was working then) by that time, and hence it wasn’t possible to take too many days off in order to attend that. But now that I’m yet to join the company that I’d be joining, I didn’t want to miss this for anything. It was great spending some quality time with my batchmates as well as meeting my professors for one last time before we all dispersed for good. And yes, it was fun dressing up in those comical gowns for the ultra-formal ceremony and posing for photographs after that.

Anyway, I managed to watch the following films in the meantime (some of which you’re already aware of):

– Rohmer’s Summer/The Green Ray, which, though I liked, I didn’t love as much as most Rohmer aficionados
– Tarkovsky’s complex and meditative The Mirror
– A new medium-budget Bengali film (a light satirical comedy) called Bhuter Bhabishyat (Future of the Past). I’ve in fact ended up watching the movie, which has turned out to be the surprise hit of the season, twice in the theatre
– Polanski’s debut feature Knife in the Water
– The Clint Eastwood starrer Dirty Harry
– A renowned Mrinal Sen film called Akaler Sandhane (In Search of Famine).

I’d in fact be interested to know if you’ve tried your hand at Sen’s films. This staunch Marxist was in fact nearly as famous as his contemporaries Satyajit Ray & Ritwik Ghatak. However, since a number of his films were highly political & aggressive in nature, he’s earned the rather misleading epithet of an angry filmmaker.

There’s one thing I wanted to raise here even though I’m not very sure regarding its feasibility. The “All-Time Top 3000″ list, which has a tab dedicated to it at this site, was, I guess, made by Alan Fish. I’m quite certain that a number of the films in that list, if not all, have been reviewed by Alan here at WitD. What I wanted to ask is, could it be possible (or more importantly, feasible) to add links to those reviews in that list? It’d make life easier for those interested to reading Alan’s take on the films he has put in that list.

The CASABLANCA screening was a TCM anniversary event that followed the successful one they managed last year with WEST SIDE STORY. And yes, I agree that this is simply a film that will always be enhanced by the big-screen presentation, even while remaining timeless in any incarnation. The interviews and the introduction by Robert Osbourne was another special feature. Yes, Tribeca is a NYC Festival, so I always try to get tickets for it. Dennis has some friends there. I know it sounds silly wearing those graduation gowns, but I figure you’ll fondly remember this event for the rest of your life. And it’s bittersweet to meet some Professors for the very last time. You’ve been doing fantastic with the reviews as of late. Saw your great piece on Rohmer’s GREEN RAY; I absolutely love Tarkovsky THE MIRROR, a sure masterwork as well as Polanski’s KNIFE IN THE WATER, his first film and another masterwork. Not so big on DIRTY HARRY.

I’m not familiar with Sen’s films, but would be interested in taking a look. I will ask Allan about the feasibility of that request!

Sam, THE DEEP BLUE SEA would have grab me by title alone but it is intriguing to read your review and I shall look forward to this one coming available over here on our distant island. But THE HUNGER GAME is one you have surprised me with as I might have tended to give this one a miss. So I shall watch for it as well. Thank you as always for mentioning Creative Potager even though I have been away for a week playing with family :)

I have seen the following four movies and when I see them together they seem determined as a whole to leave us with little hope for the futures of humanity.

THE FUNERAL (1996) directed by Abel Ferrara is a gangster film with an honest streak for portraying the complexities about what is often romanticized as bold living. I particularly liked its grim calling it as it might actually be lived complete with strong roles played by the women in these men’s lives.

COMPULSION (1959) directed by Richard Fleischer is a timeless crime-thriller film version of the Leopold-Loeb case that is so good I am tempted to read the book that it was based on. The final speech by Orson Welles is on worth remembering.

METROPIA (2009) directed by Tarik Saleh was sad with a sense of hopelessness that goes beyond anything else I have seen recently. Though supposedly futuristic the scene reminded me too much of our current urban circumstances to be any farther down the road than today. I really liked the art work and the use of gray scale to portray this bleakness.

MELANCHOLIA (2011) directed by Lars Von Trier was confusing at times and only seemed to really sort itself out in my mind after a good nights sleep. This science fiction was as much or more about our mental state as it was about the end of the world. I must say upon reflection, I like it much better than I did while watching. Yet, I think it is powerful in its confusion and well worth the struggle to untangle the disparate pieces between the wedding and the planet Melacholia path towards earth.

Well Sam, this is my offerings for the last two weeks since my last visit and all the best of spring to you with your unseasonally warm weather. Terrill :)

This is an absolutely spectacular submission, and I thank you exceedingly for it! Looks like you saw a diverse lot there! (Yes, I definitely don’t fit the target group for THE HUNGER GAME, but against all probability the films has recorded some excellent reviews in a largely favorable concensus. You may well be surprised with this when it gets over there. As it’s a blockbuster hit I’m sure you’ll be getting it soon enough.
I agree with you on Abel Ferrara’s THE FUNERAL. which was raw and gritty, though the philosophical discussions were a bit contrived. The acting by Walken, Chris Penn, Sciora and Del Toro is top-rank. The first eight minutes of Melancholia must surely rank among the most rapturous ever filmed. Taking his cue from the opening of his last film, Antichrist, Von Trier brought together imagery of ethereal beauty and Wagner’s musically cathartic Prelude to ‘Tristan und Isolde’ to electrifying effect. Existential dread has rarely if ever resulted in such a ravishing and transportive experience in a film that showcases the sensibilities of Bergman, Strindberg and the Scandinavian world view. The film is a psycodrama played out in a metaphorical scenario that most compellingly recalls Persona and The Passion of Anna. Von Trier’s sublime use of the aforementioned Wagner composition may be the most profound employment of classical music in a movie of all-time, and it fully supports the indellible images that bring it to visual maturation. Both Kirsten Dunst as a true force of nature and Charlotte Gainsbourg are transformative.
COMPULSION is not the best film on the Leopold-Loeb case (Hitchcock’s ROPE is) but it still holds you for sure. Sorry to say I have not seen METROPIA, but much appreciate the capsule assessment.

Thanks so much as always for the exceeding insight, and have a great weekend on Mayne Island my friend!

I loved hearing about your week. It made me realize I really need to catch up on some newer films (I’m definitely more behind than I like to be at the moment).

This week, the one thing I did see was the doc, THE TIMES OF HARVEY MILK. I thoroughly enjoyed it, particularly after seeing the Van Sant film of the same subject a couple of years ago. Sometimes, that experience of seeing a narrative then a doc can be a little disappointing, but this time I enjoyed rounding out the picture, if you will.

Hope you had an awesome week, Sam. Thanks so much for all that you do!

Thanks so much for again paying the ultimate honor by stopping by. I suspewct you’ve been busy as of late, and I hope all is going well. I also saw that Harvey Milk documentary (as well as the film with Sean Penn) and thought it fascinating and wholly affecting. They work quite well hand in hand.

Again your appearance here as always is deeply appreciated my friend. have a great week!

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Wonders in the Dark is a blog dedicated to the arts, especially film, theatre and music. An open forum is highly encouraged, as the site proctors are usually ready and able to engage with ongoing conversation.